Publication: Like Minds in Variations: Clara Schumann’s Variations on a Theme by Robert Schumann, op. 20
Issued Date
2020
Resource Type
Language
eng
ISSN
2586-9973 (Print)
2774-132X (Online)
2774-132X (Online)
Rights
มหาวิทยาลัยมหิดล
Rights Holder(s)
College of Music Mahidol University
Bibliographic Citation
Mahidol Music Journal. Vol, 3 No.1 (Mar – Aug 2020), 4-20
Suggested Citation
Eri Nakagawa Like Minds in Variations: Clara Schumann’s Variations on a Theme by Robert Schumann, op. 20. Mahidol Music Journal. Vol, 3 No.1 (Mar – Aug 2020), 4-20. Retrieved from: https://repository.li.mahidol.ac.th/handle/20.500.14594/64400
Research Projects
Organizational Units
Authors
Journal Issue
Thesis
Title
Like Minds in Variations: Clara Schumann’s Variations on a Theme by Robert Schumann, op. 20
Author(s)
Other Contributor(s)
Abstract
Robert and Clara Schumann are known as an eminent musician couple in thenineteenth
century. Beginning in 1853, the couple developed a close professional and personal friendship
with Johannes Brahms. The author has been fascinated by the lives and works of the three
magnificent musicians, and performed a recital including three sets of variations by the three
composers: Clara Schumann’s Variations on a Theme by Robert Schumann, op. 20; Robert
Schumann’s Theme and Variations in E-flat major, WoO 24; and Brahms’s Variations on a
Theme by Robert Schumann, op. 9. All three sets were written in the period from 1853 to
1854; all reflect the beautiful relationships among the three musicians: mutual adoration of
Robert and Clara Schumann, profound friendship between Clara and Brahms, Robert Schu mann’s enthusiastic admiration of Brahms, and Brahms’s sincere respect for Robert Schumann.
This article focuses on Clara’s Variations op. 20, a set of seven variations written in May and
June 1853, dedicated to her husband for his 43rd birthday. Discussions include the origin of
the theme, Robert Schumann’s Bunte Blätter (Colored Leaves) op. 99; the implication of
“Clara’s motives” in his theme; and an allusion to her earlier composition, Romance variée
op. 3 into the final variation, which was inserted in Brahms’s Variations op. 9 first and then
suggested to Clara to do the same for her own variations.